L'heure espagnole = (The Spanish hour) : an opera in one act

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Ravel
L»Heure Espagnole

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L'HEURE ESPAGNOLE

(THE SPANISH HOUK)

AN OPERA IN ONE ACT

BY

FRANC NOHAIN

MUSIC BY

M. RAVEL

English Version Copyright, 1919, by Fred Rullman, Inc.

PUBLISHED BY

FRED KULLMAN, Inc.

AT THE

THEATRE TICKET OFFICE. Ill BROADWAY

NEW YOPvK

A:

ARGUMENT

Torquemada, a Spanish Clockmaker, is seated in front of his
shop when Ramiro, a muleteer in the government employ, enters to
have his watch repaired. While Torquemada is working on the watch,
Conception, his wife, comes in to remind him that he has forgotten
his regular weekly task, that of regulating the municipal clocks. He
leaves in haste, asking Ramiro to wait for his watch until he returns.
Conception is very much disturbed by Ramiro's remaining in the
shop, and is thinking how to get rid of him, as she is awaiting Gon-
zalve, an ardent admirer of hers. There are two large Catalan clocks
in the shop which Conception has been anxious to get for her own
room. She decides to make use of Ramiro by getting him to carry
one of the clocks into her room, thereby getting rid of him for some
time, so that she can remain alone with Gonzalve. Ramiro leaves
with the clock on his shoulder, just as Gonzalve enters. Gonzalve
begins to recite poetry to Conception, and to get him up into her
room without Ramiro's knowledge, she hides him in the other clock.
When Ramiro returns, she sends him back for the first clock, so as
to make room for the clock in which Gonzalve is hidden. Ramiro goes
back and forth from the shop to her room with the clocks on his
shoulder, without uttering a word of protest, and Conception mar-
vels at his patience, and admires his strength very much. Don Inigo
Gomez, another admirer of Conception, now enters and also makes
love to her, but she repulses him. Inigo conceals himself in the other
clock, much to the dismay of Conception, when she discovers it. She
becomes very much bored by her two lovers, and invites Ramiro to
her room, leaving the other two hidden in the clocks. While she
is gone with Ramiro, and just as Gonzalve and Inigo are about to
leave their hiding places, Torquemada returns. They explain that
they are anxious to buy the clocks and have been examining them,
and they each buy one of the clocks.

The Spanish Hour

1134458

L'HEURE ESPAGNOLE

La boutique (fun horloger espagnol,
port an fond a gauche, large fe-
netre an fond au milieu, a gauche
escalier ntenant a Vappartement de
CoNCEPCiON^ a droite an premief
plan deux grandes horloges catala^
nes c'e'st a dire normandes, ca et la
des automates: un oiseau des ties,
tin petit coq, des marionettes a mu-
siques — Au lever du rideau, Tor-
QiUEMADA, le dos toumc au public,
est assis devant son etabli. On en-
tend les balanciers qui s'agitent, et
toutes le's pendules de la boutique
sonnent des heures diffcrentes.

SCfiNE I.
Ramiro {entrant).

Senor Torquemada, horloger de To-
lede.

Torquemada.
Torquemada, c'est moi, Monsieur.

Ramiro.
Ma montre, a chaque instant s'arrete.

TORQTJEMADA.

Voila qui va des mieux, voila qui va
des mieux.

Ramiro.

Or, je suis a votre service,
Muletier du gouvernment
Connaitre I'heure exactement
En consequence est mon office
Car chaque jour, a heure fixe
Mes mulcts doivent, sur leur dos,
Emporter les colis postaux.

Torqiuemada.

Voyons la montre

(// la prend et l' examine).
Elle est de style!

Ramiro (graz'ement).
Oui, c'est un bijou de famille,
Mon oncle, le toreador,
Par elle fut sauve des cornes de la
mort.

X

Aux arenes de Barcelone

Alors que le taureau fongait,

Cette montre en son gousset,

Le preserva du coup de corne ;

Mais si le monstre par la montre fut

arrete
C'est a present la montre qui s'ar-
rete.

Torquemada.
Nous allons done la demonter

Concepcion
(Dans la coidisse).
Totor!

Torquemada

On m'appelle. . .ma femme. . .

Totor est de Torquemada,
Le diminutif plein de charme

SCfiNE IL

Concepcion (entrant).

Eh! quoi! vous n'etes point parti?
L'etourderie est sans egale!
\'ous souvient il plus qu'aujourd'hui
If faut aller regler comme chaque

jeudi
Les horloges municipales?

Torq-uemada
Mais quelle heure est il done?

Ramiro.
Comment ?

Torqiuemada.

Que voulez vous!

Les horloges, Monsieur, on n'entend

plus leurs coups :
Ce serait a devenir fou!

Concepcion
(Montrant les horloges).
Pourquoi, depuis que je vous en re-
clame une pour ma chambre a
coucher
Garder ici ces deux horloges catalanes!

TOROtUEMADA.

Si VOUS croyez que c'est leger,
Une horloge, et facile a prendre!

THE SPANISH HOUR

The shop of a Spanish clockmaker;
a door at the back left, a large zvin-
dozi' at the back center, at the left a
staircase leading to the apartment
of Conception; to the right on the
first floor tivo large Catalan clocks,
i, e., Norman, here and there some
automatics ; a bird of passage, a
little rooster, some musical marion-
ette's— . At the rising of the cur-
tain, ToROUEMADA, his back to the
audience, is seated before his store.
The moi'ement of pendidums is
heard, and all the clocks in the shop
strike different hours.

SCENE I.

Ramiro {entering).

Senor Torquemada, clockmaker of
Toledo!

Torquemada.
Torquemada, that's me, Monsieur!

Ramiro.
My watch stops every second.

Torquemada.
Here is one that will go better.

Ramiro.

I'm at your service,

A muleteer in government employ,

Consequently, it behooves me to know

Always the exact time ;

For each day, at a set hour,

My mules must carry, on their backs.

The parcels of the mail.

Torquemada.
Let us see the watch.

{He takes it and examines it).
Quite styHsh.

Ramiro {gravely).
Yes, it is a family treasure.
My uncle, the toreador.
Was saved by it from the horns of
death.

In the arena of Barcelona
W^hile the bull was rushing upon him.
This watch, in the gusset of his shirt,
Saved him from the thrust of the

horn ;
But if the beast was then stopped by

the watch,
It is now the watch which stops itself.

Torquemada.
Now we'll take it apart.
Conception
{Behind the scenes). .
Totor!

Torquemada.

My wife. . . calls me. . .

'Totor' is the charming pet name

Formed from Torquemada.

SCENE II.

Conception {entering).

Eh! What, not yet gone?

This carelessness doth pass belief!

Hast forgotten that today.

Like every Thursday, 'tis necessary

to go
To regulate the municipal clocks?

Torquemada.
What o'clock is it then?

Ramiro.

Pardon?

Torquemada.

The clocks, Monsieur, their strokes

are no- longer audible.
'Twill drive me mad.

Conception

{Pointing to the clocks.)

Why should you keep here those two

Catalan clocks,
After I have already asked for one
for my bedroom?

Torquemada.

Perhaps you think it is light,
Perhaps you think it is easy to carry a
clock.

X

L'HEURE ESPAGNOLE

CONCEPCION

{Avec un mepris tres significatif et a

mi-voix).
De force musculaire, oui. vous avez

sujet
De vous montrer avare, ou, du moins.

menager :
\'ous n'en avez pas a revendre!

{Haut).
Mais plus longtemps ne faites pas at-

tendre
Les balanciers municipaux.

TORQ'UEMADA

(S'apprctant a sortir).
J'ai mes outils ? J'ai mon chapeau ?

Ramiro (intcrvenant).
Pardon. . . Monsieur. . . pardon. . . ma
montre ? . . .

TORQ'UEMADA.

Je cours, mon cher Monsieur, je cours
Demeurez jusqu'a mon retour!

CoNCEPCiON (apart).
Voila qui ne fait pas mon compte!

TORQUEMADA

Excusez moi. Je reviens de ce pas:
L'heure officielle n'attend pas.

{II sort).

SCENE III

CONCEPCION.

II reste, voila bien ma chance!

Le jour de la semaine ou mon epoux

est loin,
Mon unique jour de vacances,
Me sera t'il gate par ce facheux te-

moin?

Ramiro (a part).
II faut pourtant qu'avec la senora je

cause.
Mais... de quoi diable lui parler?
J'aurais mieux fait de m'en aller,
Car je n'ai jamais su dire aux femmes

des choses. . .

CONCEPCION

(HSsitantc, inontranf a Ramiro iinc

des deux Horloges).
Cette horloge. Monsieur, la jugez vous

d'un poids
Tel, pour la deplacer, qu'il faille
L'effort de deux hommes ou trois?

X

Rawiro.
Ca, Madame?
C'est une paille,
C'est une coquille de noix,
On leve ga avec un doigt.
C'est de la tres petite ouvr:ige.
Votre chambre?

CONCEPCION.

Au premier etage. . . Mais.

Ramiro.
Je vais I'y porter!

CONCEPCION.

Ouoi! vous consentiriez?

Ramiro.
C'est dit, senora, je m'en charge!

CONCEPCION.

Je n'osais pas vous en prier!

Ramiro.

If fallait oser au contraire!
Tout muletier a dans son coeur
Un demenageur amateur
Et voila qui va me distraire
En attendant votre mari.

CONCEPCION.

Je suis confuse!

Ramiro.
Cela m'amuse!

CoNCEPCiON {apart).
Tout s'arrange fort bien ainsi!

(Haiit).
L'escalier est au fonds du coaloir que

voici . . .
Vraiment, Monsieur, vraiment.
j 'abuse !

Ramiro.
C'est moi, senora, qui m'excuse :
Je fais si pietre mine, helas! dans un

salon!. . .
Les muletiers n'ont pas de conversa-
tion
(On cntcnd vocaliscr Gonzalve daris
la coulisse. Ramtro sort, emportant
I'horlogc sur son epaule).

SC£NE IV.

CONCEPCION

(Oiti guette a la fenctre).
II etait temps, voici Gonzalve!

THE SPANISH HOUR

COKCEPCION

{With I'cry significant and half -ex-
pressed scorn).
Ay, 3'ou have reason to show your

miserliness
Of your muscles, or at least, to hus-
band them;
You've none to spare!

(Aloud).
But do not keep waitin^^ any longer
The municipal pendulums.

TOROUEMADA

(Getting ready to go out).
Have I my tools, my hat?

Ramiro (Interrupting).
Pardon, IMonsieur, my watch.

TORQUEM.ADA.

I am in haste, Alonsieur, I run,
And you wait here till I return !

Conception ( aiside ) .
This did -not enter in my calculation.

TORgUEMADA.

Excuse me, Ell return directly
The official clock must not wait.

(Exit)

SCENE HI.

Conception.

He remains. Now's my chance.
My husband's day away from home.
Aly only day of liberty.
Will it be ruined by this annoying
witness ?

■ Ramiro (aside).

I ought to speak with this woman.
But what the devil can I speak about?
I had done better had I gone away.
Eor I never did know how to talk to
women. . .

Conception
(hesitating, shozving Ramiro one of

the iivo clocks).
This clock, IMonsieur, dost give it

such a weight
Tliat. to move it, would require
The labor of two men or three '^

Ramiro.

This, Madame?
Why, 'tis a straw.

'Tis a nutshell.

One could lift it with a finger.
A trifling bit of work.
Your room?

Conception.
On the first floor. But. . .

ril carry it.

Ramiro.

How!

Conception.
Would'st do it?

Ramiro.
'Tis said, senora, I'll do it.

Conception.
I never dared to ask you.

Ramiro.

'Twould be necessary to dare the con-
trary.

Every muleteer is in his heart

An amateur mover of household
goods.

With that ril occupy myself, while

I await your husband.

Conception.
I am confused.

Ramiro.
This amuses me.

Conception (aside).
Everything works well this w^ay.

(Aloud)
The staircase is at the end of the

passageway.
Indeed, Monsieur, I am imposing upon
you.

Ramiro.
It is I, senora, I beg your pardon
Eor making so pitiful a face. Alas!

In a parlor
Muleteers are a crude lot.

(GoNZALVE is heard singing in the

passageivay ) .
(Exit Ramiro carrying the clock up-
on his shoulder).

SCENE I\'.

Conception
(Ulio is ivatching at the zvindozv)
Tt was time, there is Gonzalve!

8

L'HEURE ESPAGNOLE

GONZALVE.

Enfin revient le jour si doux
Harpes, chantez, eclatez salves!
Enfin revient le jour si doux,
Le jour ou, d'un epoux jaloux,
Ma maitresse n'est plus I'esclave.
CoxcEPCiON ipassioncmcnt).
Gonzalve! Gonzalve! Gonzalve!

GoNZALVE.

Enfin revient le jour si doux. . .

CONCEPCION.

Oui mon ami . . . Depechons nous,
Ne perdons pas, a de vaines paroles
L'heure qui s'envole,
Et qu'il faut cueillir.

Gonzalve (declamant) .
L'email de ces cadrans dont s'orne ta

demeure,
C'est le jardin de mon bonheur email-

le d'heures,
Que Ton voit eclore et fleurir...

CoNCEPCiON (impatiente).

Oui, mon ami. . .

(A part).
Le muletier va revenir. . .

Gonzalve.

Cette image est tres poetique.

■'en veux faire un sonnet et le mettre

en musique
"Le Jardin des Heures..." sonnet!

CoNCEPCiON (apart).

Si le muletier revenait!...

(Haut).
Oui, mon ami, mais profitons de

l'heure unique. . .
Tiens, sens, comme battait mon coeur

en I'attendant!

Gonzalve {d c clamant) .
Horloge, c'est ton cocur, le rythme en

est le meme,
Ton coeur ballant. ton coeur battant.
Que,, melancolique, on entend. . .
"Le Coeur de I'Horloge. . ." poeme!

CoNCEPCiON {apart).

Le muletier va revenir dans un in-
stant!

(Hatit).

Oui, mon ami, mais vois, le temps
s'acheve,

0{i realiser le doux reve.

X

Gonzalve {distrait)..
La, la, la, la, . . . La, la, la, la.

CONCEPCION.

Apres lequel nous soupirons.

Gonzalve.
Les baisers qu'appellent tes levres
£greneront leurs carillons!

Oh!

CONCEPCION {excedee).

{A ini-z'oi.v).
Mon ami. . .Oui, mon ami,
Mais l'heure fuit, prends garde,
Le temps nous est mesure sans pitie!

Gonzalve.
*'Le Carillon des Armours" . . . sere^
nade.

CONCEPCION

(Avec dcpit, apercevant Ramiro qui
revient).
Et puis,.voici le muletier.

SCfiNE V.
Ramiro.
C'est fait! Thorloge est a sa place,

CONCEPCION.

Deja? Ah! Monsieur, que de graces!

{A part).
II n'y a pas a dire, il faut
Qu'a nouveau
Je m'en debarasse!

{Haut).
Vous allez me trouver bien folle, cher

Monsieur,
Comment vous faire cet aveu?
Done, a peine etiez vous parti
Avec I'horloge vers ma chambre,

(Montrant l' autre horloge)..
J'ai refiechi
Que celle ci
Y serait mieux. . .
Que vous en semble?

Ramiro.
Senora, c'est votre plaisir?
Je suis tout a votre service!

CONCEPCION.

Tant d'indulgence a mon caprice!. . .
Ah! Monsieur, je me sens rougir!

Ramiro.
Voila

C'est celle ci, a I'instant que j'em-
porte . . .

THE SPANISH HOUR

GONZALVE.

At last the sweet day returns,
Sing, ye harps, burst into praise!
At last the sweet day returns,
The day that my mistress is no longer
The slave to a jealous husband.

Conception (passionately).

Gonzalve! Gonzalve! Gonzalve!

GoNZALVE.

At last the sweet day returns!

Conception.

Ay, my friend. Let us make haste
Let us not lose, to vain words,
The fleeting hour.
The hour which must be plucked,

Gonzalve (pompously).

The enamel of these dials, gracing
thy home,

Is the garden of my happiness enam-
elled with hours,

Blooming and bursting into flower.

Conception (impatiently).

Ay, my friend . . .

(Aside)
The muleteer will return.

Gonzalve.

This image is very poetic.

I will make of it a sonnet, and set it

tO' music
"The Garden of the Hours", a son-
net!

Conception (aside).
If the Muleteer returned!...

(Aloud).

Ay, my friend, but let us profit by

the single hour —
Come, feel the impatient beating of

my heart-

Gonzalve (pompously).
The clock, that is your heart, its

rhythm is the same.
Your dancing heart, your beating

heart,
Which, melancholy, is heard —
"The Heart of the Clock." A poem, . .

Conception (aside).
The muleteer will return in an in-
stant—

(Alotcd).

Ay, my friend, but see, the time is

here.
To realize the sweet dream. . .

Gonzalve (distracted).

La, la, la, la, — La, la, la, la, —

Conception.

For which we are sighing, longing.

Gonzalve.

The kisses which your lips call forth.
Will evoke their chimes !

Conception (Beside herself).
Oh...

(In a low voice)
Oh, my friend , . . Yes, my friend,
But the hour is passing, take care.
Time is doled out to us pitilessly!

Gonzalve.
"The Chime of Loves". . .A serenade

Conception
(With vexation, perceiving the re-
turning Ramiro).
And now, here's the muleteer.

SCENE V.

Ramiro.
'Tis done. The clock is in its place.
Conception.

Already? Ah! Monsieur, I thank
thee —

(Aside).
There is nothing left to say,
I must anew
Rid myself of him!

(Aloud).
I fear. Monsieur, you'll think me silly,
I know not how to confess it to you.
For, hardly had you left
With the clock for my room

(Pointing to the other clock).
When I thought
That this one would be better.
What think you of it?

Ramiro.

Senora. That is your pleasure?
I am entirely at your service!

Conception,

So much patience with my whims!
Ah, Monsieur, I feel that I am blush-
ing.

Ramiro.

There

This one here, when I bring the other
one. . .

lO

L'HEURE ESPAGNOLE

CoNCEPCioN (vivement) .
Quand vous aurez remporte I'autre!. .
Quelle courtoisie est la votre!...
Vous etes un vrai paladin.

GONZALVE.

Cast ainsi que ton coeur, eternel fe-

minin,
Apparait plus mouvant ciue les plis

d'une jupe!
"Caprice de Femme"... Chanson!

Ramiro (icloignant).
Moi, ga m'est egal, ga m'occupe.

GoNZALVE

{Lui lancant un regard dcdaigneux).
Le muletiers n'ont pas de conversa-
tion.

SCfiNE VI.

CONCEPCION

(Ouzrant precipitamiiient le coffre de

I ho r log e).
Maintenant, pas de temps a perdel
La dedans, vite, il faut entrer!

GoNzALVE ( tragiquc) .

Dans cette boite de cypres,

De sapin, de chene, ou de cedre?

CONCEPCION.

Oui, c'est fou je te le concede,

Mais cede!

Songe done, ici de nous voir

En tete-a-tete, nul espoir! _

Car le muletier a I'oeil noir

Se dresse entre nous, et je tremblel

Au contraire, sans le savoir,

L'horloge et toi, tous deux ensemble,

II vous emporte dans ma chambre!

GoNZALVE.

II me plait de franchir ton seuil,
Entre ces planches clos, comme dans

un cercueil. . .
T'y gouterai des sensations neuves,

(// yinstalle dans l'horloge).
Et cette horloge ou m'enferme le sort,
O mon amante, est-ce pas une epreuve
De I'amour plus fort
Que la mort?

CONCEPCION

(Sombre et tragique).

Oui, mon ami. . . . > . x^

{A part).

II exagere!

SCfiNE VII.

Don Inigo Gomez
(Passant devant la fenctre).
Salut a la belle horlogere!

CONCEPCION

(Fermant briisqticnient l'horloge).
Don Inigo Gomez!
Qui pent ici lui plaire?

Inigo.

Sournoise qui le demanda!
Eh! le seigneur Torquemada
Ne serait il pas chez I'Alcade?

CONCEPCION.

Vous voulez le voir?
Inigo.

Dieu m'en garde!

Aurais je s'il n etait parti,

Pris le chemin de sa boutique?

Moi qui, precisement, usai de mon
credit

Pour faire confier a cet heureux man

Le soin des horloges publiques?

Car il est raisonnable, il est juste, ii
est bon

Que I'epoux ait dehors une occupa-
tion

Reguliere et periodique

CONCEPCION.

Don Inigo Gomez est un seigneur
puissant!

Inigo.
Que ma puissance apparait vaine.
Si, quand son mari est absent,
Certaine belle me consent
A se montrer un peu moins inhumaine
Vous seule pouvez tout!

(// vent lui prendre la main).

CONCEPCION (sc dcgageant).
Excusez moi, seigneur!
(A.vec un regard inquiet sur l'horloge

on se cache Gonzalve).
Parlez plus bas. . .les horloges ont des
oreilles!

Inigo (plaintif).
J'attends de votre arret I'exces de mon

malheur. . . . , , x

{Rcsolu).

Ox\ felicite sans parcille!

(// la pressc, cllc sc dcgaqe encore. On
voit poindre Vextrcmite de l'horloge
que Ramiro rapporte sur son
epaule).

THE SPANISH HOUR

II

Conception ( vivaciously ) .
When you will have brought the other

one!. . .
How courteous you are !
Indeed you are a Paladin.

GONZALVE.

Such always is thy heart, eternal fem-
inine,

More ephemeral than the folds of a
skirt!

"Capriciousness of Women." A Song!

Ramiro {mov-ing away).
To me 'tis all the same, it keeps me
busy . . .

GoNZALVE

(Tlirozciiig after him a disdainful

glance).
Aluleteers are a dumb lot!

SCENE VI.

Conception
(Suddenly opening the chest of the
clock).
Now, we've no time to lose! ■
Quick, in there, you must go!

GoNzALVE (tragically).
In this box of cypress,
Pine, oak, or cedar?

Conception.

'Tis silly, I admit,

But yield to me!

For think, were we to be seen here,

all alone.
Then we were hopeless!
For the black-eyed muleteer,
Stands between us, and I tremble!
On the contrary, without knowing it,
The clock and you. both together,
He'll carry into my room.

GONZALVE.

It pleases me to cross your threshold.
Between closed boards, as in a coffin,
There I shall taste new sensations

(He gets into the clock).
And this clock, in which I am by Fate

enclosed.
Oh, my beloved, is this a test of love,
Stronger than death?

Conception

(Somber and tragic)-
Ay, my friend.

(Aside).
He exaggerates.

SCENE VII.

Don Inigo Gomez
(Passing before the ivindow).
Hail to the be.autiful wife of the clock-
maker!

Conception
(Closing brusquely the clock).
Don Inigo Gomez!
Who can be here of service?

Inigo.
Sly woman, that dost ask!
Eh! Signor Torquemada,
Is he not at the Alcada?

Conception.
You want to see him?

Inigo.

God forbid!

Would I have taken the road to his
shop,

Had he not gone?

I, who used my influence.

To secure for this happy husband the
care

Of the public clocks?

For it is reasonable, it is just, it is
good.

That the husband have an outside oc-
cupation,

That is regular and constant.
Conception.

Don Inigo Gomez is a powerful gen-
tleman.

Inigo.

How useless would appear my power,

If, in the absence of her husband.

A certain beautiful woman did not
consent

To show herself, a bit more human.

You alone can do all!

(He tries to take her hand).

Conception
(Disengaging herself).
Excuse me, seigneur!
(With on anxious look at the clock

wherein Gonzalve is hidi)ig).
Speak lower. . . Clocks have ears.

Inigo (pleadingly).
I expect from your decision a great
misfortune-

(Resolutely).
Or matchless happiness !

(He presses her, she again disengages
herself. The end of the clock, z^'hich
Ramiro carries on his shoulder, is
seen to break).

X

12

L'HEURE ESPAGNOLE

CONCEPCION

(Dans la plus grand e ayitation).
Seigneur, excusez moi!
J'ai les demenageurs!

SCfiNE VIII.

; Ramiro {posant I'horloge).

\ Voila!

Et maintenant a I'autre!
(// va pour prendre la 2cuic horloge

dans laguelle est enfermc Gon-

zalve).

concepcion.

Celle ci est pent etre un pen . . .
Je vous previens. . . un pen plus
lourde. . .

Ramiro.

{Chargeant la 2eme horloge sur son

epaule).
Peuh!
C'est seulement que Ton dirait que qa.

ballette. . .
Mais qa. n'en est pas plus ardu. . .
C'est moins le poids, ces objets la

que le volume,
Car, pour le poids, c'est un fetu, .
; C'est une plume!. . .

(// fait passer I'horloge d'une epaule

a I'autre avec une aisance prodi-

gieuse).
On porte ga, les bras tendus,
Des combles jusqu'a la cave. . .

CoNCEPCiON {a part).

Cet homme a des muscles de fer!
Mais s'il secoue ainsi Gonzalve,
II finira par lui donner le mal de

mer. . .
Je vous accompagne. . .

Ramiro (s'eloignant).
Inutile !

Inigo.
Quoi! faut il que vous me quittiez?

CoNCEPCiON (a Inigo).

Le mecanisme est tres fragile,
Et notamment le balancier. . .
J'en demande pardon a votre Seigneu-
rie!. . .

(Elle seloigne).

. SCfiNE IX.

Inigo.
Evidemment, elle me congedie,
Et s'il me fallait ecouter

Les conseils de ma dignite,
J'abandonnerais la partie. . .
Cependant je n'ai qu'une envie,
Et cette envie est de rester!
Dans ces conjonctures extremes
Un amant, penseje, avec art
S'introduirait dans un placard :
Tant pis, ma foi, si je deroge!
Je congois a I'instant le fantasque

pro jet
De me cacher
Dans cette horloge
Ces horloges sont les placards des

horlogers.

(// s'introduit avec effort dans I'hor-
loge trap ctroit pour sa corpu-
lence).
Ma mine imposante et severe
A la pauvrette faisait pour.
Montrons un autre caractere
Conforme a sa galante humeur,
Et que nous sommes, au contraire,
Dans le fond, un petit farceur!

(// entend des pas).
Elle revient . . . coucou . . .
(Ramiro parait. Inigo referme brus-
quement I'horloge).

SCfiNE X.
(Ramiro seiil, Inigo dans I'horloge).

Ramiro.

Voila ce que j'appelle une femme

charmante!
Maintenant elle me demande
De venir garder la boutique. . .
Voila qui est bien compris et pratique,
Et c'est ainsi qu'une maitresse de

maison
A chaque visiteur doit asoigner un

role
En rapport avec ses fagoiis,
Moi, ma fagon,. . . c'est mes epaules!
Quand je vois ici rassembles
Toutes ces machines subtiles,
Tons ces ressorts menus, a i>laisir

embrouilles.
Je songe au mecanisme qu'est
La femnie, mecanisme autrement

complique
S'y reconnaitre est difficile!
A Dieu ne plaise aussi que je m'arroge
Le soin minutieux d'en toucher les

resserts.
Tout le talent que m'a donne le sort
Se borne a porter des horloges. . .

THE SPANISH HOUR

13

Conception.
{With great agitation).
Excuse me, signer!
Today I have the movers of furni-
ture!

SCENE VHI.

Ramiro.

(Setting down the clock).

There! And now for the other one.

{^Hc goes to fetch the second clock

in which Gonzalve is enclosed).

Conception.

This one is perhaps a Httle bit...
I warn you. . .a little bit heavier. . .

Ramiro.

{Taking the second clock up on his

shoulder).
Pheu! It is only, as one would say,

that it is not steady,
But it is no heavier. . .
'Tis less their weight, these objects,

than their size,
For, as for the weight, 'tis a trifle.
'Tis a feather!. . .

(He shifts the clock from one should-
er to the other zvitli a tremendous
nonchalance) .
'Tis thus, with outstretched arms, one

carries.
Heaps of goods to the cellars.
Conception (Aside).

This man has iron muscles!
But if thus he tosses Gonzalve,
He'll end by making him so dizzy...
I'll go with you . . .

Ramiro (moving off).
'Tis not necessary.
Inigo.
How? Must you leave me?

Conception (To Inigo).
The mechanism is very fragile,
Especially the pendulum . . .
I beg your Highness' pardon!...

(She goes off)'

SCENE IX.

Inigo.
Evidently, I am dismissed.
And if I were to heed the
Counsels of my dignity,
I should abandon the business . . .
Meanwhile. I have but one ciesire
And that is to remain.

In these extreme positions,

A lover would, artfully,

Conceal himself in a cupboard :

So much the worse, my soul, if I de-
mean myself.

I conceive this instant the fantastic
scheme

Of hiding myself

In this clock.

These clocks are the cupboards of the
clockmakers.

(He squeezes himself, with great ef-
fort, into the clock, zvhich is too
narrozv for his corpulence) .

My stern and pompous bearing

Scared the poor little woman.

I'll assume another manner.

More suited to her passionate temper

And show her that I am, at bottom

Something of a wag.

(He hears a step).
She is returning. . .coucou. . .

(Ramiro appears. Inigo closes the
clock brusquely).

SCENE X.

(Ramiro aloiie. Inigo in the clock).
Ramiro.

That's what I call a charming woman!

Now she asks me to watch the shop;

A good and practical woman,

And besides a capable manager.

To assign to each visitor a role

Conforming to his talents.

I... my talents... are my shoulders!

When I see here assembled

All these subtle machines.

All these slender springs, wound for
pleasure,

I think of the mechanism which is

Woman, a mechanism far more com-
plex.

To know which were difficult!

'Twould displease God mightily were
I to tamper

In the slightest with those springs.

All the talent that Fate has given me

Is limited to the carrying of clocks. . .

14

L'HEURE ESPAGNOLE

SCfiXE XL

CONCEPCION

(Accourant vers Ramiro).

Monsieur! Ah! Monsieur!

(A part).
Dans ma gorge
Les mots s'arretent de depit

(Haut).
Traitez moi de folle, tant pis^
Mais comment voulez vous qu'en ma

chambre je garde
Une horloge qui va, jMonsieur, tout de
travers,

(Douloureiiscment).

Quel martyre affreux pour mes nerfs!

Ramiro.
La rapporter, ga me regarde...
A tout a riieure!

SCfiNE XHL

Inigo

{Entrourant I'Jwrloge, a mi-voix).

Enfin, il part!

Dieu! que ces muletiers sont de fa-
cheux bavards!. . .

(Haut).

Coucou . . .

{A part).

Amusons cette belle!...

{Haiti).

Coucou. . .

CONCEPCION

{Se retournaut 7'crs Vhorloge dont
Inigo a rcfcrmc aussitot la parte
siir lui).

Tiens, Thorloge...

Inigo
{Meme jou).
Coucou . . .

CoxcEPCioN (rageuse).

L'allusion est de haut goiit, par Saint

Jacques de Compostelle!

Et le moment est bien choisi

Pour parler de coucou ici!...

Inigo

(Mcme jou).
Coucou . . .

Concepcion
{apcrcevant Inigo).
Don Inigo!

Inigo.
Coucou ! . . . Coucou ! . . .

{N obleynent) .
Oui da vous avez devant vous
Don Inigo Gomez, roi de la haute

banque!. . .
Et meme y serais-je a geuoux,
Si ce n'etait que la place mc manque . .

Concepcion.
Cessez ce jou, Don Inigo, vous etes
fou!

Inigo.
Oui, fou de toi, 6 ma jolie.
Fou a faire mille folies!
Ceci n'est qu'un commencement,
Un tout petit exercice d'entrainment!

Concepcion.
Mais je n"en veux point davantage!
Tenez vous en la simplement!
Et sortez. je vous y engage,
De ce bizarre logement!

Inigo.
Eh quoi! lorsque j'eus de peine.
Tant de peine a entrer, faut il deja

sortir?
Ou il y eut beaucoup de gene,
On merite un peu de plaisir!
Manque je a votrc fantaisie,
De jeunesse, de poesie?
Trop de jeunesse aussi a son mauvais

cote,
Un jeune homme est souvent inex-

perimente!

Concepcion (nostalgiqiic).
En verite!... en verite!

Inigo.
Un rien I'arrete et I'embarasse!. . .
Et les poetes, affaires
A poursuivre un reve ethere,
Oublient que la realite sous leur nez
passe. . .

Concepcion

{Avcc line conviction navree).
Si vous saviez combien vous dites
vrai!. . .

Inigo.
Un amant comme moi offre plus de
surface!

THE SPANISH HOUR

SCENE XI.

Conception
{Running toward Ramiro).
Monsieur! Ah! Monsieur!

{Aside).
The words are stopped in my throat
From vexation.

{Aloud).
Treat me as a fool,
So much the worse, but how do you

expect me
To keep in my room a clock m which.

Monsieur,
Everything goes wrong?

{Mournfully).
What a terrible trial for my nerves!

Ramiro.
To carry it again, that means me. . .
Presently. . .

SCENE XII.

Inigo
{Slightly opening the clock, in an un-
dertone).

At last, he's gone.

God! What nuisances these inuleteers

are!

{Aloud).

Coucou. . .

{Aside).

Let's have some fun with this beauty.

{Aloud).
Coucou . . .

Conception.

{Returning toward the clock in which

Inigo has closed the door).
Ah, the clock. . .

Inigo {Still in fun).
Coucou . . .

Conception {Raging).
The allusion is in good taste, by St.

Jacques de Compostelle!
And the moment is well chosen
To speak here of cuckoos!

Inigo {Still in fun).
Coucou . . .

Conception {perceiving Inigo).
Don Inigo!

Inigo.
Coucou! Coucou!

15

{Nobly).
Yes, you have before you,
Don Inigo Gomez, king of the upper

bench!
I would be there, even on my knees,
If 'twere not that there were no

room.

Conception.

Quit this fooling, Don Inigo, you are
crazy !

Inigo.
Crazy for thee, my pretty one.
Enough to commit a thousand follies.
This is but a beginning.
Just a little exercise. . .

Conception.

But I want no more of it!
Be satisfied with that!
And leave, I beseech you.
This strange prison.

Inigo,

And how? After I had gone to so

much pain.
Such trouble to go in, must I go out

already ?
After so much uneasiness,
One deserves a bit of pleasure!
Do I lack, for your fancy,
Youth, poetry?
Too much of youth has too its evil

side,
A young man is often inexperienced.

Conception {Despairingly).

True . . . true . . .

Inigo.

A trifle halts him and confuses him. .
And the poets, occupied
In pursuing a flimsy dream.
Forget that reality is beneath their
nose.

Conception

{With broken-hearted desperation).
If you knew how true you spoke!

Inigo.
A lover like me offers more breadth!

X

i6

L'HEURE ESPAGNOLE

SCfiNE XIII.
Ramiro.

(entrant avec I'horloge oil est en-

fermc Gonzalve).
Voila I'objet! Que faut il que j'en
f asse ?

CoNCEPCiON {indiffcrcnte ) .
Ah! I'horloge!. . .

C'est bon!... Merci!... mettez ^a
la. . .

Ramiro.
{apres avoir pose llwrloge, montrant

cellc d^'lNiGo).
Et maintenant. c'est celle la
One dans votre chambre Ton place?
CoNCEPCiON {troublee).
Dans ma chambre ? . . .
Inigo
{par llwrloge cntr'ouverte).
Dans votre chambre!
Ramiro.
Vous n'avez qu'un mot a dire et je
I'enleve!
CONCEPCION {ba!s a Inigo).
C'est un guet apens!
Inigo
(bas a CONCEPCION en lid baisant la
main).
C'est un revel. . .

Ramiro.
Est ce dit, senora?

Inigo.
O ivresse!. . .

CONCEPCION

(se decidant bncsquement).
Enlevezl. . .
Alais n'est ce pas plus lourd?

Ramiro.

(chargeant I'horloge sur son epanle).
Goutte d'eau, grain de sable.

CONCEPCION

(le regardant pleine d' admiration, ce-
pendant qu'il emporte llwrloge, et
Inigo dans cette horloge, avec la
plus grande facilitc).
A coup sur cet homme est done.

SCfiNE XIV.

CONCEPCION

(ouvrant lliorloge oil est Gonzalve).
Ah! vous, n'est ce pas, preste! leste!
Treve aux poemes etoiles!

Vous aller, j'espere filer,
Et sans demander votre reste.

Gonzalve ( exstatique ) ,

O imperieuse maitresse,
Laisse!

Concepcion

(evasive et rageusc, cntre ses dents).
La, la, la, la, la, la, la, la, la.

Gonzalve.

Je veux graver ici nos chifties enlaces
Au tour d'un coeur, de fleches trans-
perse
Comme font emmi les sites sylvestres
Ou I'amour complaisant egara leurs
baisers.

Concepcion (excedee).
Ah!...

Gonzalve.

Comme font deux amants sur I'ecorce
des trembles. . .

Concepcion.

Demeurez done, si bon vous semble,

Mais n'attendez pas, s'il vous plait,

Que j'ecoute encore les couplets

De la romance

Qui recommence

Vous avez de I'esprit, mais manquez

d'a-propos. . .
J'en ai assez, de vos pipeaux!

(Elle sort).

SCfiNE XV.

Gonzalve

(seuV, dans Vhorloge).

En depit de cette inhumaine,

Je ne veux pas quitter I'enveloppe de

chene
Ou le destin me fit entrer.
Sans evoquer les nymphes des forets
Qu'emprisonnait une semblable gaine.
On n'a pas toujours un motif
Pour traiter ce sujet au vif :
"Impressions d'Hamadryade". . .

(// entcnd rezfenir Ramiro).

Mais prenons garde
Car le muletier revient:
Ces gens la goiitent pen les symboles
paiens!. . .

THE SPANISH HOUR

17

SCENE xni.

Ramiro.
(Entering with the clock in which

GoNZALVE is enclosed).
Here it is. Now what must I do with
it?

Conception (Indifferently).
Ah! The clock!
Well! Thanks! Place it there.

Ramiro.
(After having placed it in position,
pointing to that in zuhich Inigo
is).

And now, that one there
Goes into your room?

Conception ( Troubled) .
In my room?

Inigo
(Through the slight opening in the
clock).
In your room!

Ramiro.
You have but to speak, and it shall
be done.

Conception.

(Softly, to Inigo).

This is a bad fix.

Inigo.

(Low, to Conception, kissing her

hand).

It is a dream.

Ramiro.
Well, signora?

Inigo.
Oh, joy!

Conception
(Making up her mind brusquely).
Lift it' up!
But is it not heavier?

Ramiro.
(Placing the clock upon his shoulder).
A drop of water, a grain of sand.

Conception
(Looking at him, admiringly, while he
carries the clock, and Inigo, in
this clock, with the greatest ease).
This man is gifted, indeed.

SCENE XIV.

Conception

(Opening the clock in which Gon-

zalve is).

Ah, You, no? Quick, quick.

A truce to starry poems!

Quick, let us not lose time.
Nor wait.

GoNzALVE (Ecstatically).

O imperious mistress,
Leave me!

Conception
(Evasively and angrily, between her
teeth).
La, la, la, la, la, la, la, la.

Gonzalve.

I am going to cut here our mono-
gram.

Around a heart, pierced with arrows

As the interwined verdure of wild
landscapes do,

Whether passionate love doth drive
their kisses.

Ah!

Conception
(Beside herself).

Gonzalve.
As two lovers do on the aspen barks.

Conception.

Then stay, if you like it better,

But please do not expect me

To hear more of your couplets,

Of endless romance.

You have enough of spirit, but lack

timeliness. . .
I have enough of your bird-calls.

(Exit).

SCENE X]V.

Gonzalve

(Alone, in the clock).

Despite this inhuman woman,

I do not want to leave this oaken

envelope.
Into which Destiny has ordered me.
Without calling the forest nymphs.
Imprisoned by a similar fate.
There is not always an opportunity
For handling this subject realistically :
"Impressions of Hamadryade. . .

(He hears Ramiro returniiH/).

But let us beware.
For the muleteer is returning:
Those people have little taste for pas-
toral symbols.

i8

LUEURE ESPAGNOLE

SCfiNE XVI.
(GoNzALVE, cnfcrme da^hs I'horloge,

RaMIRO, puis CONCEPCIONJ.

Ramiro.
Voila ce que j'appelle une femme char-

mante!
M'avoir si gentiment ce labeur me-
nage, - ,. ' ,
Tantot emmenager, tantot demenagerl
Voila ce que j'appelle une femme

charmante!
Et puis cette boutique est un plaisant

sejour;
Entre chaque montee, apres chaque

descente,
Nul importun, par ses diseours,
N'y vient troubler ma quietude non-

chalante . . .
Rien a dire, rien a penser;
On n a qu a se laisser bercer
Au tic tac regulier de tous ces balan-

ciers!
Et les timbres de ces pendules
Joyeusement tintinnabulent
Tout ainsi que, par les sentiers
Muletiers

Sonnent les grolots de mes mules . . .
Si je devais mon sort changer,
N'etais-je muletier, je serais horloger,
Dans cette horlogerie, avec cette hor-

logere.

CONCEPCION

{entrant bnisqiicuicnt a Ramiro).
Monsieur!

Ramiro.

L'horloge encor ne fait pas votre af-
faire?
Bon! Bien! laissez, laissez! je la vais

rechercher!. . .

(// sort).

SCfiNE XVII.

CONCEPCION.

Oh! la pitoyable aventure!

Et faut il (|ue, de deux amants,

L'un manque de temperament,

Et I'autre, a ce point de nature!

Oh! la pitoyable aventure!

Et ces gens la se disent Esoagnols

Dans le pays de dona Sol,

A deux pas de I'Estramadure!

Le temps me dure, dure, dure. . .
Oh! la pitoyable aventure:
L'un ne veut mettre ses efforts,
Ou'a composer des vers baroques,
Et I'autre, plus grotesque encor,

X

De l'horloge n'a pu sortir rien qu'a

mi corps,
Avec son ventre empetre de bro-

loquez!. . .
Maintenant, le jour va tinir.
Et mon epoux va revenir:
Et je reste fidele et pure. . .
A deux pas de TEstramadure '
Au pays du Guadalquivir!...
Le temps me dure, dure, dure!. . .
Ah! pour ma colere passer.
Avoir quelque chose a casser,
A mettre en bouillie, en salade!
{Elle frappe du poing I'horloge oil est
Gonzalve).

Gonzalve

( entr'ouvrant I'horloge ) .
"Impressions d'Hamadryade" . . .

SC£NE XVIII.

Ramiro.

(rapportant sur son cpaiile thorloge
qui renferme Inigo)

Voila!...

Et maintenant, senora, je suis pret

a rementer dans votre chambre
L'autre horloge, si bon vous semble,
Voire meme les deux ensemble . . .
Ce sera comme vous voudrez!

Concepcion (a part).

Quelle serenite, quelle aisance il con-

serve
Et comme il jongle avec les poids!
II les souleve, les enleve. . .

Ramiro.
Senora, faites votre choix!

Concepcion (a part).
Et toujours le sourire aux leyres!...
Vraiment cet homme a des biceps
Qui depassent tous mes concepts...
Avec lui, pas de propos mievres!

(Haiit, trcs aimahle).
Dans ma chambre. Monsieur, il vous
plait romenter?

Ramiro.
Mais laquelle y dois je porter
De ces horloges?

Concepcion (Simple ct ncttc).-
Sans horloge!

{Ellc sort prcccdcc de Ramiro).

THE SPANISH HOUR

19

SCENE XVI.

(GoNZALVE in the clock; Ramiro,
then Conception J.

Ramiro.

That's what I call a charming wo-
man !

To have managed so gently this labor.

No sooner planned than moved !

That's what I call a charmingr wo-
man !

Then this shop is a pleasant place ;

After each step, after each trip,

No word of impatience in her speech

Came to trouble my careless quietude.

Nothing to say, nothing to think ;

Nothing to do but sleep in peace.

To the regular tictac of the pendu-
lums!

And the sounds of these pendulums

Joyously jingling,

Just as the muleteers,

On the highway, sound the little bells
on the mules.

If I could change my fate,

I should not be a muleteer,

I should be a clockmaker,

In this clock-shop, with this woman
as wife.

Conception

(Entering brusquely, to Ramiro).
Monsieur!

Ramiro.

The clock does not vet suit?

Well. I'll go see to it.

SCENE XVII.

(Exit).

Conception.

Oh. pitiful adventure!

And is it necessary that of two lovers,

One lacks temperament.

And the other, this natural essential.

Oh, pitiful adventure!

And these people call themselves

Spaniards
In the country of the Sun,
Two steps from Extramadura
Time hangs heavy upon my hands.
Oh, pitiful adventure!
One does not want to take pains,
Except to compose florid verses,
And the other, still more grotesque,

Could come only halfway out of the

clock,
With his belly entangled with trinkets.
Now, the day nears its end.
And my husband will return,
And I remain faithful and pure.
Two steps from the Extramadura
In the country of the Guadalquivir!
Time hangs heavy upon my hands.
Ah ! To end my anger.
To have something to break,
To smash, to shatter...

(She smashes her fist into the clock
wherein is Gonzalve).

Gonzalve

(Slightly opening the clock).
"Impressions of Hamadryad."

SCENE XVIII.

Ramiro.

(Bearing upon his shoulder the clock

enclosing Inigo).
There !
And now, senora, I am ready to go up

again to your room.
The other clock
If it suits you.
To see both together,
'Twill be as you desire.

Conception (Aside).

What serenity, what nonchalance,
And, like the juggler with his weights,
He throws them up, and drops them. .

Ramiro.

Senora, make your choice!

Conception (Aside).

And always with a smile upon his

lips. . .
Truly that man has biceps
Surpassing my conception. . .
His lips frame no sly words.

(Loud, very amiably).

Into my room, Monsieur,
D'oes it please you to go up?

Ramiro.

But which of these clocks
Shall 1 bring up?

Conception

(Simply and innocently).

Without the clocks !

(E.vit zi.'ith Ramiro leading).

20

L'HEURE ESPAGNOLE

SC^NE XIX.

(Inigo et GoNzALVE chacun dans son

horloge).
(Inigo entr^oiivre la parte de I'horlo-
ge, tin coucou chante, il referme prc-
cipitaimnent la parte, puis la raiwre,
tine harlage sonne, if rentre, puis
reparait).

Inigo.

Men ceil anxieux interroge,
Alelancolique, riiorizon :
Amour! Amour! mechant garqon,
A quelle enseigne tu me loges!. . .
Comme on doit etre bien chez soi,
Dans un large fauteuil, les pieds dans

ses pantoufles!
Quand je languis id, tellement a

I'etroit,
Que cela me coupe le souffle!. . .
Et personne pour me haler!...
Personne!. . .
Cordon, s'il vous plait!
La porte! la porte! la porte!
(// la rcfcrme sur lui, an bruit que

fait GoNzALVE entr ouvrant a son

tour I' harlage).

GONZALVE.

11 m'a semble qu'on appellait?. . .

Aussi bien, il est, je crois, sage

D'abandonner notre ermitage.

Adieu, cellule, adieu, donjon!

Adieu, cuirasse et morion

Ou'au chevalier fit revetir sa dame!

Adieu, tables du violon

Dont, poete amant, je fus I'ame.

Adieu cage pour ma chanson.

Cheminee aussi pour ma flamme . . .

Adieu!

(Apergevant Torquemada qui
rentre).
Sacrebleu!
Voila le mari!
Pour nous eviter le souci
D'explications sans charme,
Regagnons au plus vite un asile op-

portun . . .
Depechons !

{II se trampe d'harlage).

Inigo

(apparaissant dans ritorloge).
II y a quelqu'un!

SC£NE XX.

(Torquemada, Gonzalve, Inigo que
Van vait blatti dans I' harlage).

X

Torquemada {entrant).

11 n'est, pour Thorloger, de joie egale-
a celle

De trouver au logis nombreuse clien-
tele!

Messieurs, soyez les bienvenus,

Et veuillez m'excuser: vous avez at-
tendu ?

Inigo

{dans I'harloge, un pen einbarrassc).
Mais comment done, je vous en prie!

Gonzalve

{avec un enfkonsiasme feint).
Vos montres sent de purs bijoux. . .

Torquemada
{le ramenant a I'harloge au so tient

Inigo).
C'est de cette horloge, surtout.
Que vous me direz des nouvelles.

Inigo.
Devant que vous veniez, jc la consi-

derais,
Precisement avec tant d'interet. . .

Torqtjemada
La curiosite est toute naturellel

Inigo.
Qu*a I'interieur j'ai voulu penetrer.
Pour examiner de plus pres
Le fonctionnement merveilleux du
pendule. . .

Torquemada.
Quais!

Mais je ne trouve pas cela si ridicule!
Et croyez moi, vous en aurez pour

votre argent!
Car vous prenez, bien entendu, I'hor-
loge?

Inigo.
Certes!
Torquemada {a Gonzalve).
Allons, ne soyez pas jaloux!

{Montrant I' autre harlage). ■
J 'ai la pareille au meme prix : elle est

a vous :
C'est une chance!

Gonzalve.
Mais. . . sans doute. . .

{A part).
Impossible de dire non.
II faut endormir ses soupqons ;
Mais que ce trafiquant apre au gain
me degoute!

THE SPANISH HOUR

21

SCENE XIX.

(Inigo and Gonzalve each in his
clock).

(Inigo slightly opcfts the doors of the
clock; a cuckoo sings, he suddenly
closes the door, then re-opens it, one
clock sounds, then returns, then re-
appears).

Inigo.

My anxious eye

Scans sadly o'er the horizon.

Love, love, v^icked boy,

In what a fix you place me!

Just when I ought to be comfortably

at home,
In a large armchair, feet in slippers,
I languish here, thus cramped.
How it cuts off my breath.
And nobody to haul me out!
No one!

A rope, please, somebody
The door the door, the door!

{He closes it upon himself, to the noise
made by Gonzalve In his turn open-
ing the clock),,

Gonzalve.

Did someone call?

Well enough, methinks, and wise.

To abandon our retreat.

Adieu, my cell, adieu, dungeon!

Adieu, breast-plate and morion,

With which the lady fits her cavalier!

Adieu, violin, of which I,

The loving poet, was the soul.

Goodby, cage of my song.

Outlet, for my flame. . .

Adieu!

{Perceiving Torouemada re-enter-
ing).

Sacrebleu!

There's the husband!

Let us avoid the trouble

Of painful explanations,

By returning at once to some handy

hiding-place. . .
Let us make haste

{He gets the zcrong clock).
Inigo
(Appearing in the clock).
There's someone!

SCENE XX.

(Torouemada, Gonzalve, Inico cozv-
ering in the clock).

Torquemada {entering).

There is no joy, for a clockmaker,
Like finding a large clientele waitin'g

for him!
Welcome, gentlemen.
And I crave your pardon. Have
you waited long?

Inigo

{In the clock, a little embarrassed).
How, what, I beg you?

Gonzalve

{With feigned enthiDsiasm) .

Your clocks are jewels!

Torquemada

{Leading Jiini to the clock in which

Inigo is hiding).

Above all, tell me some news
About that clock.

Inigo.

Before you came, I was considering,
With so much interest. . .

Torquemada.

Curiosity is very natural!

Inigo.

That I wanted to penetrate into the

interior.
To examine from as near as possible
The marvellous operation of the pen-
dulum. . .

Torquemada.

I see.

But that's not so ridiculous.

And believe me, you will get enough

for your money!
For, of course, you will take the clock?

Inigo.

Certainly!

Torquemada {To Gonzalve).
Come, do not be jealous!

{Pointing to the other clock).
I have a similar one at the same price.
It is at your disposal.
It is a bargain.

Gonzalve.

But. . .Without doubt. ..

{Aside).
Impossible to say No,
I must lull his suspicions :
How this vile trafficker disgusts me!

2.2,

L'HEURE ESPAGNOLE

TORQ-UEMADA.

Eh bien! nous voila tous d'accord!

Inigo.
Je voudrais seulement vous demander

encor
De me tirer de cette boite:
Car, soit dit sans reproche,
Elle est un peu etroite. . .

TOROUEMADA

(tirant Inigo et prenant Gon-
zALVE par la main).

Vouillez seconder mes efforts, Mon-
sieur. . .

{Tous deux tircnt).

He la... la done... je t'en souhai-
te!...

{Cependant que Torouemada et Gon-
zALVE s'efforcent, Inigo apergoit
Ramiro qui revient, suivi de Con-
cepcion).

SCfiNE XiXI.

Inigo (appelant Ramiro).
Pardieu, demenageur, vous venez a
propos!

Torquemada
(apercevant Ramiro).

Je I'avais oublie: ou avals je la tete?

{A Concepcion).

Ma femme, vous non plus, vous n'etes
pas de trop ! . . .

(Torquemada, Gonzalve, Concepci-
on font la chaine et tirent Inigo,
mats la chaine sc romp et Inigo est
toujours dans rhorloge. Ramiro
prend Inigo a bras le corps et I'en-
Icve de I'horloge le plus naturelle-
ment du nionde).

Ramiro.
V^oila.

Inigo.
Sacrebleu, quelle peigne!

Concepcion.

De sa vigueur chacun tenioigne!

Torquemada (a Concepcion).

Vous n'aurez pas encor d'horloge,

chere amie. . .

Concepcion
(montrant Ramiro).
Regulier comme un chronometre,

Monsieur passe, avec ses mulets
Chaque matin, sous ma f enetre . . .

Torquemada (d Ramiro).

Chaque matin, done, s'il vous plait,
Vous lui direz I'heure qu'il est.

{Les acteurs viennent avec intention
se placer stir le devant de la scene,
aprcs s'etre offert mutuelleuient, en
de's ceremonies affectees, I'honneur
de commencer Vaddresse au pu-
blic).

QUINTETTE FINAL.

Gonzalve.
Un financier. . .

Inigo.
Et un poete. . .

Concepcion
(pouffant de rire).
Un epoux ridicule. . .

Torquemada.
Une femme coquette. . .

{Ensemble).

Gonzalve.

Qui se servent, dans leurs discours,
De vers tantot longs, tantot courts. . .
Au rythme qui se casse, a la rime
cocasse.

{Tous approuvent).

Ramiro.
Avec un peu d'Espagne autour.

Concepcion.

C'est la morale de Boccace :
Entre tous les amants, seul amant ef-
ficace.

Ramiro.

11 arrive un moment, dans les deduits
d'amour

Concepcion.
Oi^i le muletier a son tour.

Tous.

II arrive un moment dans les deduits

d'amour
Ou le muletier a son tour.

rideau.

THE SPANISH HOUR

2Z

TORQUEMADA.

Well, now, we are agreed!
Inigo.

I would only ask you, in addition,
To pull me out of this box,
For, faultless though it be,
It is a little narrow.

TOROUEMADA

{Pulling Inigo and taking Gonzalve
by the hand).

Please help me, gentlemen . . .

{Both pull).

He... la! There! I'll help you out
of it!

{Meanii'hile, while Torquemada and
Gonzalve are striving, Inigo per-
ceives Ramiro returning, folloived
by Conception.)

SCENE XXI.

Inigo
{calling Ramiro).
By God, mover of furniture, you come
just in time!

Torouemada
{perceiving Ramiro).
I had forgotten him ; where was my
head?

{To Conception).

My wife, you too, all can help!

(Torquemada, Gonzalve, Concep-
tion make a chain and pull Inigo.
But the chain breaks and Inigo is
still in the clock. Ramiro takes
Inigo around the body and prdls
him out of the clock just as natural-
ly as you please).

Ramiro.
There!

Inigo.
Sacrebleu, what a fix!

Conception.
Each one bears witness to his strength!

Torouemada {To Conception)
You still want a clock from me, dear
friend ?

Conception
{Pointing to Ramiro).
Regular as a chronometer,

Monsieur passes, with his mules,
Each morning, beneath my window. . .

Torquemada {to Ramiro).
Each morning, then, if you please.
You will tell her what time it is.
{The actors come with the intention
of placing themselves before the
fore-scene, after having mutually
paid their respects to one another,
in affected ceremonies, and offering
each other the opportunity to com-
mence the address to the public).

FINAL QUINTETIE.

Gonzalve.
A financier —

Inigo.
And a poet —

Conception

(Bursting into laughter).
A ridiculous husband. . .

Torquemada.

A coquettish wife...

{Together).

Gonzalve.

Who use, in their speech.
Verses now long, now short. . .
In broken rhythm, in ridiculous
rhyme . . .

Ramiro.

With a bit of Spain around.

Conception.

This is the moral of Boccaccio:
Among all lovers, the only efficient
lover. . .

Ramiro.

There arrives a time, in the occupa-
tions of love.

Conception.
When the muleteer has his turn.

All.

There arrives a moment, in the oc-
cupations of love,
When the muleteer has his turn.

curtain.

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DATE DUE

The RSle of the H AK JJ MAIN

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- - Syracuse, N. Y.
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ML 50 R19H4 1919

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